Eshkolot, the Society for the Performing Rights of Israeli Artists, represents according to the law , all performing artists in Israel, including actors, singers, entertainers and dancers.
Eshkolot’s database at April 2017 listed 36,160 performing artists registered, who have received and/or are receiving and/or will receive in the future royalties from Eshkolot.
Eshkolot collects royalties from all the broadcasters with whom it has signed agreements: the Israel Broadcasting Authority IBA (radio and television), Channel 2 – Keshet and Reshet, HOT and YES cable providers, Channel 10, local radio stations and Army Radio, public places, etc.
These royalty monies are distributed to performing artists, where the main basis for the allocation is the number of minutes each artist was on air.
Eshkolot was founded in 1983 by a group of artists from IUPA – Israel Union of Performing Artists (in Hebrew “EMI”) and the Histadrut’s Artists’ Association, including Yitzchak Bareket Shaike Levi, Sassi Keshet and Ili Gorlizki, chairman of IUPA at that time, and since, the chairman of Eshkolot.
In 1984, the Performers’ Rights Law (1984), initiated by Eshkolot, was passed in the Israeli parliament “Knesset”. This was the first achievement in Eshkolot’s struggle to protect the rights of Israeli artists performing and broadcast on radio and television.
Eshkolot continued its efforts and, in 1996, recorded a further achievement in realizing the rights of performing artists, when the Knesset approved the 1996 legislative amendments. As a result, the rights of Israeli artists to receive “appropriate royalties,” was guaranteed even when their works were played or performed in public places.
At that same year, the Knesset passed a flawed and missing version of the Private Copying Law (Blank Tapes), which legislated that artists and performers are entitled to royalties on blank tapes (audio and audio-visual) imported to or manufactured in Israel. The law, as stated, was terrible – it was an Israeli conception of European legislation to improve artists’ welfare.
The Israeli version, however, resulted in few royalties paid to Israeli artists, but Eshkolot is working tirelessly to change the law.
Eshkolot works continuously to solve the complex problems that face most artists’ organizations, such as the internet, VOD, and mobile phones.
Eshkolot is in close contact with AEPO-ARTIS, the Association of European Performers’ Organisations, and European collective management organizations, such as ADAMI (France), AIE (Spain), Gramex (Denmark), the European Commission, UNESCO, etc., and receives regular information and updates from colleagues on intellectual property issues.